Bad Boys: Ride or Die

Bad Boys: Ride or Die

Released June 7, 2024

Directed by Adil El Arbi and Bilall Fallah

Cinematography by Robrecht Heyvaert

* No Spoilers *

Bad Boys: Ride or Die has no business being as good as it is. Will Smith and Martin Lawrence bring back their incredible chemistry, and despite both being well into their fifties, the duo remains as entertaining as ever. What the film lacks in plot, it more than makes up for in creative direction and inventive camerawork. As a fan of the Bad Boys series, I didn’t think there was much steam left in the franchise, but this came as a very pleasant surprise.

More slapstick and over-the-top than any of the prior entries, Bad Boys: Ride or Die is a solid sequel that deviates from its predecessors in tone. These movies are known for over the top action and comedy but this took it a step further while retaining (and elevating) the spirit of Michael Bay’s signature style. Directors Adil El Arbi and Bilall Fallah are back behind the camera and they are clearly exercising their immense creativity to tremendous effect.

The story is full of intrigue and personal conflict as Mike Lowery and Marcus Burnett follow a trail of breadcrumbs to clear their boss’ name. The plot is not complex or intricate but it does enough to create strategic gambles and competing interests. Despite being far more outrageous and ridiculous than before, our beloved duo actually get some meaningful, albeit shallow, character development.

Marcus, played by Martin Lawrence (Big Momma’s House), is undergoing a “zen renaissance” after having a near death experience. He’s a bit too eccentric for my taste, but his newfound fearlessness leads to some uniquely exciting moments. Lawrence is clearly having a blast in the role, though I’d be lying if I said it wasn’t a little silly.

Will Smith (King Richard), as Mike Lowery, is more vulnerable than ever, battling panic attacks and grappling with the guilt of endangering his loved ones. The stakes for his character are more personal, and Smith balances Lawrence’s comedy with some brief but earnest dramatic moments of his own. He still has his share of jokes but they feel more in line with what we’ve seen before.

The supporting cast features familiar faces returning from the previous movie, alongside some particularly loathsome new antagonists. One of the villains is revealed in a twist so obvious and telegraphed that I wonder why they even tried to frame it as a surprise. That said, the villains both get their comeuppance in viscerally satisfying ways. There are also a half dozen gratuitous cameos from Khaby Lame to Michael Bay himself.

The story, acting, and character arcs are fine, if not a little weak, but Bad Boys: Ride or Die doesn’t stand out for any of those things. Instead, it shines because of the off-the-wall action sequences and brilliantly experimental camerawork. Great action movies are a dime a dozen these days, but Adil and Bilall are on another level when it comes to presenting the action in ways you’ve never seen before.

The events themselves aren’t groundbreaking —we’ve seen car chases, shootouts, and fights inside of an aircraft before— but I can guarantee you’ve seen never seen it presented like this. The kinetic and dynamic cinematography is exhilarating. The camera is constantly in motion, weaving through environments, zipping past the action, swirling around characters, and jumping from one beat to another before smoothly swinging back to where it started.

One standout sequence involves a fight in a moving glass elevator. Though it only lasts about 20 seconds, the way the camera pushes in and out as characters are slammed into cracking glass creates a palpable sense of danger. They also use drone footage to zoom over the scene, only to transition seamlessly into a first-person view, flipping from a character’s perspective to a close-up of their face. Mike and Marcus even pass a weapon between them as we slow down and track it flying through the air. Conceptualizing these shots shows serious ingenuity but executing them with such smooth precision is a sign of real vision and talent.

Visually, Ride or Die is incredible. The colours pop with a vibrant flair that perfectly captures the neon nightlife of Miami. From time-lapsed establishing shots of the South Beach skyline to the emerald swamps of the Everglades, this is beautiful. It’s richly saturated colour palette makes for a excellent showcase for you big-screen OLED television.

Lorne Balfe’s score provides a persistent synthetic hum that builds in intensity during the action while disappearing into the background when not needed. His epic rendition of the “Bad Boys” theme during the characters’ preparation for the climactic showdown is awesome. The sound design is bold and intense, with of bombastic explosions and punchy gunshots, but overall this is more of a visual feast than an auditory one.

Bad Boys: Ride or Die is a perplexing experience. The storytelling is undercooked, and the humour is juvenile. Yet the visual presentation and innovative direction are nothing short of inspiring. Adil and Bilall are visionaries who don’t get the respect they deserve. As much as I enjoyed their take on the adventures of Mike Lowery and Marcus Burnett, this movie only makes me more excited to see what the pair could do with an original project. Give them a wide-open playground and a sizeable budget, where they can fully unleash their seemingly infinite pool of creative energy.

7/10 - Bad Boys: Ride or Die isn’t perfect, but it delivers exactly what it promises: entertaining action, humour, and visual flair. The ingenuity and cleverness on display here is some of the most innovative action filmmaking of the year. It’s a shame that the plot was so predictable and the character arcs so shallow, but at the end of the day, this is still a Bad Boys movie —it’s unfair expect something radically different. If you enjoy Smith and Lawrence’s chemistry and love unconventionally shot action sequences, you’re in for a great time with Bad Boys: Ride or Die.  

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